Some of the more enjoyable surfaces (for example, the grain of a fine mahogany table top or a Japanese sword) have an interplay between pattern and texture which, though two-dimensional, suggests the unseen internal three-dimensional array.
As we draw closer, we see that the three-faceted planes of the museum are fabricated out of rectangular panels made of white bronze that was poured directly into dammed forms on the concrete floor of the foundry, producing a surface texture similar to both metal and stone.
I’m now more inclined to attribute Looseleaf’s power to its visual texture than to some cognitive media-style abstraction. And the visual texture owes more to the beauty (yes, beauty!) of the original pdfs from the Vasulka Archive. Perhaps the demo is best understood not as a prototype generic tool, but as a specific curated experience in its own right, with form and content claiming equal importance in its overall success.
Even so, I think there are some general lessons that can be drawn from this demo:
Content is not inert
Visual texture lets content breathe
Visual texture lets the eye wander without losing itself
Back before COVID-19 hit the global scene, I thought it would be pleasant to have a list of the good things in life. This list wouldn’t be an exhaustive account of all the checked boxes on Maslow’s Hierarchy of Needs, but rather would document small pleasures which evoke some kind of clear and specific emotional response. If I had The Sads, I could pull up this list and sink down into the sensory details of, say, that strong hit of pine scent you randomly get on a hiking trail.
Now that we’re all in the thick of this pandemic, this new tiny side project—Good Things—has offered me a peaceful little portal to things I miss. Your mileage may vary, but I’ve found that reading my personal list of good things can be comforting as I help protect my community by sheltering in place.